A gray and white Tige wakeboat carves low across dark green lake water, its hull catching warm light against a wooded shore.
TIGE BOATS · 2026

Joey Arcisz · Director of Photography

American Quiet

The look

Quiet American heritage, shot like a film still. One subject against a big sky, seen from below or above, lit from behind, in a restrained teal and amber grade. Materials carry the motion. Each piece gets one color world.

American Quiet started as the name for my personal photography. The same instincts run through every campaign, commercial and brand film I shoot. This is how I place the camera, use the light and finish the frame, and what your project will look like when I'm behind the lens.

Grade

Moody, never muddy

I like images dark and rich, never murky. Skin and wood stay warm, water and sky go teal, and the highlights hold so almost nothing clips. The look starts on set with exposure and light, and the grade finishes it.

Every project runs through one consistent look of my own, applied once. Every frame I deliver is graded.

U.S. Polo Assn. · V-RAPTOR 8K VV. Drag to compare the camera original with the graded frame.

As shot in Log3G10: a woman adjusting a pink beanie in a red top, flat and gray against a muted tartan wall. The same frame graded: saturated red top, warm skin, and the tartan wall turned deep navy and teal. As shot · Log3G10 Graded

The colors I lean toward, pulled from across my visual library: warm blacks, espresso and olive shadows, tungsten amber, slate teal, and a highlight that stays cool.

Light

Light from behind

Backlight is my default. I plan setups around where the sun will be, so it rims people, horses and spray, and the golden hour glows through the background. It separates the subject, gives the air texture, and does half the grade before the footage reaches the suite.

A wakeboarder flies above the wake as low sun backlights the spray against dark cliffs and trees.
Wakeboard · Backlit spray
Shot from below, a woman in a denim shirt looks down as the sun burns through her hair, palm trees overhead.
U.S. Polo Assn. · Sun through her hair
A wakeboat throws a spray of wake that glows gold in low backlight.
Tige Boats · Backlit wake
A woman in a red, white and navy polo stands between two horses in warm backlight under the oaks.
U.S. Polo Assn. · Backlight at the paddock

Motion

Let materials move

When something moves in my frame, I make it a material: a flag snapping in the wind, powder thrown off a speaker, fabric in water, wake and spray. Materials read as motion even in a single frame, so the images work as key art and stills, not just as moments in a cut.

A woman on horseback holds an American flag snapping in the wind against the ocean at golden hour.
U.S. Polo Assn. · Flag in the wind
Powder bursts off a vibrating speaker cone in tall plumes against black.
Studio · Powder off a speaker
Powder lifts off a speaker and curls into the air like a breaking wave against black.
Studio · Powder in the air

Angle

Shoot from the ground or the sky

Eye level is where images turn generic, so I rarely leave the camera there. I go low and wide and look up at the subject against open sky, or straight overhead until the frame becomes a pattern. Camera height is a decision on every setup, never a default.

Black and white photo looking up at a steel desert water tower against a pale sky.
M10 Monochrom · Water tower
Shot from the waterline, a couple relaxes on the bow of a Tigé, the gold logo on the hull below them.
Tigé Boats · From the waterline
Overhead view of spray cans arranged in a radial pattern on factory machinery.
Factory floor · Straight down
Aerial view of a single wakeboat small on a wide field of dark green lake water above a tree line.
Tige Boats · Aerial

Color

One color world per piece

In studio and product work I build one controlling color into the set, the light and the grade, and hold it. The product sits inside that world instead of fighting it. That is what makes a frame feel designed rather than just lit.

A loaded deviled egg on a black and white checkerboard against a saturated mustard backdrop.
Deviled Egg Co · Mustard
A vintage television showing static sits alone on a pedestal in front of a red curtain.
Studio · Red
Kat Hasty in a black cowboy hat smiles in profile at a vintage microphone, wrapped in solid deep blue stage light.
Kat Hasty · Blue stage
A tequila bottle nestled among broad agave leaves in low green light.
Agazul · Agave green

Subject

American heritage

Monuments, deserts, water towers, lakes, horses, classic cars and working machines. American leisure and labor, shown with respect and room to breathe. It is the world I am drawn to, and the one heritage brands want to live in.

A man stretches out with open arms across the hood of a yellow vintage International Scout in a green field below wooded hills.
U.S. Polo Assn. · Vintage Scout
A rider on a white horse walks the surf line at golden hour as a wave breaks against the rocks behind her.
U.S. Polo Assn. · Beach ride at golden hour
A pale yellow vintage Mustang convertible drives a desert road past Joshua trees, everyone in the back with arms raised.
U.S. Polo Assn. · Joshua Tree road

Tone

Monochrome is the native language

Much of my personal work is made on a Leica M10 Monochrom, a camera that only sees in black and white. It trained how I read every frame: shape the tones first, then add color. If a frame does not hold up in monochrome, color will not save it.

Black and white photo of a lone Joshua tree reaching up into a pale sky.
M10 Monochrom · Joshua sentinel
Black and white photo of an empty bench on the National Mall with the Capitol far in the distance.
M10 Monochrom · Empty bench
Black and white photo of a bare, weathered tree on a rocky ridgeline above a valley.
M10 Monochrom · Ridgeline
Black and white photo of a still desert pond reflecting palms and mountains, framed by two palm trunks.
M10 Monochrom · Desert oasis
Black and white photo of the seated Lincoln statue in hard side light between tall columns.
M10 Monochrom · Lincoln in side light

Stills and motion

Stills hold silence. Motion has to hit.

I shoot both, and the rules change between them. A still can rest on a small figure under a huge sky. A moving frame cannot.

Black and white photo of a snowy alpine slope under a jagged peak, a single skier tiny in the frame.
M10 Monochrom · Alpine silence

In a still, scale and emptiness carry the frame. A lone figure, an empty bench, a single tree.

A woman seated on the floor throws open a cream blanket beside a tufted leather sofa in a warm holiday interior.
U.S. Polo Assn. · V-RAPTOR 8K VV · Graded

In motion, I want energy. I get close, give the subject something to do, and catch it at its peak, like a blanket snapping open in one sweep.

Pre-production

The frame is built before the shoot

Previs and pre-production are the most important part of how I work. Every setup is designed ahead of time from image references and 3D lighting previews, so the day on set is about executing a plan, not finding one.

A 3D lighting preview of an interview setup: a woman seated at a kitchen table, lit softly from the side.
Previs · 3D lighting preview
The same interview setup on the shoot day, graded: a woman at a kitchen table in soft side light.
On the day · Graded frame

References first

Every project starts with a deck of reference frames for light, color and composition, so the director, client and crew agree on the look before anyone touches a camera.

Previs every setup

Camera position, lens, light placement and the path of the sun are built in 3D ahead of time. Problems get solved on a screen, not on the clock.

Plan the day around it

The schedule comes straight from the previs, with the backlit setups booked into the hour the light is right.

Then shoot the plan

Because the frames are already designed, the day runs fast, the shots match the previews, and there is room left to chase the moments you can't plan.

Range

One eye, many briefs

The same instincts carry across very different work, from apparel campaigns to boats on open water to a single bottle in the dark.

The work

  • Fashion and apparel campaigns for U.S. Polo Assn.
  • Marine and lifestyle for Tige Boats
  • Product and beverage: Agazul, spirits, clean hero detail
  • Food and studio color work: Deviled Egg Co
  • Music performance: Kat Hasty
  • Automotive, aerial and industrial

The tools

  • RED V-RAPTOR 8K VV and Nikon ZR for motion
  • Leica M10 Monochrom and Leica Q3 for stills
  • Drone aerials
  • Log capture finished in a film-emulation grade
  • Every frame and clip delivered graded